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金恩淑 대구효성가톨릭대학교 1985 연구논문집 Vol.30 No.1
At any style of music or of performance, improvisation is to be included in it. Improvisation is not only a special term applied to a particular style but also a common concept found every stage of music structure. On the historical point of view, improvisation takes charge of a leading role enough to change a musical style. It repeats the following process that the performance pactive of embellishment makes another new style and on it, the practice of embellishment is added again. besides, improvisation is used as methords of overcoming the limit of notation and vivifing the contents. Usually composers insert the improvisatio to the pieces, but sometimes they reserve writing down intentionally and let performers to improvise. Reviewing the music history, when composer's authority was not dominant and the role of performer was partly similar to that of composer, improvisatory elements were added to the pieces. Moreover the spontaneity of performer influences definitly on the complication of pieces. After the roles were divided, every elements of improvisation became something intended by the composer and there was no room to be improvised by the performer. In contemporary music, composers use more improvisatory elements in pieces than over, and they ask the perfomer more improvisatio through every levels of structure. But the problem is that peformers can not satisfy the composer's hope any more. Passing through Classic Period, the roles of composer and performer were divided perfectly. Consequently, performers are more and more disinterested in the process of creating pieces and they restrict their duty within practicing composer's decision and indication. Because improvisatory creating or constructing become beyond performer's ablity. So, without supplementary training all the performers having excellent technique can not play well Aleatory and Indeterminacy. This is one reason that the contemporary music which includes improvisatory elements is isolated from common performers and audiences. In order to overcome and resolve the problems caused by improvisation, performers should comprehend fully the intention of composers who make such improvisatory pieces as Aleatory and Inderterminacy and they should have positive attitude to creat music with composers.
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Design, Syntheses and Biological Evaluations of Nonpeptidic Caspase 3 Inhibitors
김은숙,유성은,이규양,이선경,노재성,정용삼,김은희,정낙철 대한화학회 2002 Bulletin of the Korean Chemical Society Vol.23 No.7
Caspase 3, a member of cysteine protease family, is well known as a major apoptosis effector and is involved in cell death as a result of ischemic diseases such as stroke and myocardial infarction, therefore the inhibition of caspase 3 may protect those apoptotic cell damages. During the high-throughput screening of the compounds from the Korea Chemical Bank, berberine derivatives (A and B), an isoquinoline alkaloid, have been identified as potential inhibitors for caspase 3. Based on this finding we carried out molecular modeling study to identify the pharmacophoric elements of berberine structure which interact with a substrate-recognition binding site of caspase 3 and came up with several novel scaffolds. In this report, we will discuss the molecular modeling, syntheses and the enzyme inhibitory activities of these novel compounds.
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A Deconstructive Reading of the "Nausicaa" Chapter in James Joyce's Ulysses
김은숙 한국제임스조이스학회 2002 제임스조이스저널 Vol.8 No.1
율리시즈의 노시카 장의 해체적 읽기김 은 숙본 논문의 목적은 율리시즈의 노시카 장의 해체주의적 글읽기이다. 이 장은 표면적으로 나타난 바로는 전통적인 글쓰기인 것 같다. 그러나 자세한 글읽기를 통하여 보면 확실한 형태 없이 구조가 이분화 되어 있고, 플롯이라면 플롯이라 할 수 있는 거티와 블룸의 우연한 만남은 결말 없이 열린 상태로 끝나며 또한 언어는 중심을 잃고 상대에게 전달되지 못하고 비껴나가며 오히려 침묵이 더 효과적인 언어 수단이기도 하다. 인물의 아디덴터티 또한 명료히 묘사되지 않고 정확한 메시지를 제공하기를 거부하며 궁극적 해석을 독자에게 맡긴다.본 논문에서는 제임스 조이스가 그의 해체적 글쓰기에서 사용한 서술기법 중 반대요소들의 병치를 집중적으로 다루며 그는 이 기법을 이 장 전반에 걸쳐 어떻게 전략적으로 사용하여 데리다의 해체주의의 중심사상이기도 한 절대, 근원, 진실 혹은 중심의 부재를 강조하며 이는 조이스로 하여금 전통적인 글쓰기에서 사용되는 내러티브와 스타일, 인물과 구조 등 통상적 소설요소 들과는 다른 새 방향으로의 중심부재의 해체적 글쓰기를 모색케 하는지 밝힌다.
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